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Lot 43
OLDHAM. JOHN. - THE WORKS OF MR JOHN OLDHAM, together with his remains. London: for Jo Hindmarsh 16868vo. Dark brown calf, rebound. t.p. a little browned with marginal repairs. Seperate title pages to each part (wing 0226).A third issue of the sheets of the first edition of 1684 with the second edition of The Remains 1687
Lot 362
A Royal Paragon Walt Disney Porcelain Saucer, depicting an early image of Mickey Mouse and Minnie Mouse dancing, plate produced two years after Disney conceived Mickey for his first cartoon. The plate is back stamped with an orange enamel mark, approx 14 cms dia together with three vintage American post cards. (4)
Lot 110
Large Wurttemberg region polychrome carved wood group "Virgin and Child". Circa first half of the 16th century. Unsigned. Loss to child's arm, insect holes, paint loss, condition commensurate with age. Measures 39" H. Written appraisal will be furnished to the winner. Shipping: Third party (estimate $3750-$6000)
Lot 118
•GEORGE CHARLTON, N.E.A.C. (1899-1979) UNLOADING BARRELS inscribed and dated under mount (1917) pen and ink with pencil 25.5 cm by 33 cm; 10 in by 13 in to be sold together with four unframed pencil drawings by the same hand, including: Portrait of a Huntsman, Seated Girl, Standing Male Nude, and A Fallen Carthorse (5) Provenance (the first) Acquired by the present owner from the Bloomsbury Workshop
Lot 120
HENRI GAUDIER-BRZESKA (1891-1915) STUDY FOR "THE WRESTLERS" pencil 24 cm by 30.5 cm; 9 1/2 in by 12 in Provenance Sophie Brzeska; H.S.E Ede; Acquired by the present owner from the Bloomsbury Workshop The Wrestlers, a cast of which is in the Tate is probably Gaudier-Brzeska's most important work. The artist was comissioned to make a small figure of a wrestler in 1912 and he produced numerous preparatory sketches from trips he made to the gym, as well as a linocut he made into a Christmas card. The present work is one such drawing and was originally in the collection of H.S. Ede at Kettle's Yard in Cambridge. Ede held the most important collection of Gaudier-Brzeska's work, making eight casts of The Wrestlers from the original plaster which is now in the Boston Museum of Fine Arts. Little over a year after the original plaster was created Gaudier-Brzeska lost his life fighting in the First World War.
Lot 122
BERNARD MENINSKY (1891-1950) PORTRAIT OF THE ARTIST'S SON signed l.r.: Meninsky pastel 43.5 cm by 24 cm; 17 in by 13 1/2 in sold together with three framed drawings: Portrait of a Young Man by George Dixon Aked, A Lady Reading by Stephen Bone, and Head of A Young Girl by James Grant (4) Provenance (the first) Julian Hartnoll
Lot 134
•STEVEN ANDERSON (CONTEMPORARY) THE BLACK MASS signed and dated (reverse of board): Steven Anderson / 98 oil on board 61 cm by 84 cm; 24 in by 33 in sold together with another large painting by the same hand (currently removed from stretcher) (2) Provenance (the first) Compass Gallery, Glasgow
Lot 19
GEORGE CATTERMOLE, OWS (1800-1868) MONKS READING IN A MEDIEVAL INTERIOR watercolour, in an exceptional antique carved-gilt frame 49cm by 64.5cm; 19 1/4in by 25 1/4in Exhibited London, Old Watercolour Society, 1850, no. 377 George Cattermole was born at Dickleburgh, in Norfolk. When he was fourteen he began working as an architectural and topographical designer for the antiquary John Britton. He became an associate of the Royal Watercolour Society in 1822 and a full member in 1833. In 1850 he abandoned the society, dedicating his attention to painting in oil. At the Paris Exhibition of 1855 George Cattermole was honoured with one of the five first-class gold medals awarded to British painters. He also received professional artistic honours in Amsterdam and in Belgium. Among his leading works are The Murder of the Bishop of Liege, The Armourer (relating the Story of the Sword) and The Assassination of the Regent Murray by Hamilton of Bothwellhaugh. He was strongly influenced by the writing of Walter Scott whose work he also illustrated. The present work is a major exhibition piece from his final years as a watercolour painter.
Lot 30
HERCULES BRABAZON BRABAZON (1821-1906) THE ROAD BY THE SEA pastel with pencil 9 cm by 13 cm; 3 1/2 in by 5 in to be sold together with A Madeira Landscape and A Normandy River Scene, both in the manner of Brabazon Provenance The first acquired by the present owner from Chris Beetles July 1994 (3)
Lot 32
HERCULES BRABAZON BRABAZON (1821-1906) HAMBURG signed with monogram l.l.: HBB pencil with coloured chalks 15.5 cm by 13 cm; 6 in by 5 in to be sold together with Mediterranean Village and Meadow with Lake, both in the manner of Brabazon (3) Provenance The first acquired by the present owner from Chris Beetles Gallery, London 1972
Lot 43
APRIL SWAYNE-THOMAS (FL MID 20TH CENTURY) TIBETAN CHILDREN coloured crayon sold together with a watercolour of an indian temple; a Vanity Fair print ""An Indian Statesman""; a hand coloured engraving of an Arab Bedouin; and a quantity of reproduction prints from ""The Tale of the Arabian Nights"" the first 20.5 cm by 31 cm; 8 in by 12 in (13)
Lot 6
AFTER JEAN-MARC NATTIER (1685-1766) PUTTI WITH A FLORAL GARLAND oil on canvas 76 cm by 63 cm; 30 in by 25 in Provenance The Earls of Barrymore The present work is a copy of two putti on the right hand side of Nattier's "Portrait of a Lady presumed to be Louise Diane d'Orleans". According to a label on the reverse of the frame, it is that the present work came from the collection of Richard, the 7th Lord Barrymore (1769-1793). Known as Hellgate, or The Rake of Rakes, he was a famous sportsman, riding his own racehorses with great success, boxing, fencing, and appearing in first-class cricket twice for Brighton. In 1791 he became an MP for Heytesbury, possibly to escape arrest for debt. Having been commissioned into the Royal Berkshire Militia in 1789 he was later killed by an accidental discharge of his musket while escorting French prisoners of war to Dover. While it was believed that he died deeply indebted, after probate he was found to be solvent.
Lot 63
•CLAUDE FLIGHT (1881-1955) SPEED (C. CF7) signed in pencil u.l.: CLAUDE FLIGHT. Inscribed in pencil with edition number l.l.:11/50.linocut printed in cobalt blue, yellow ochre, vermilion and Prussian blue, 1922, on buff oriental laid paper, with margins 22.6 cm by 28.8cm; 9 in by 11 1/4 in Literature Stephen Coppel, Linocuts of the Machine Age, Scholar Press, London, 1995, p74. The present work was used as the frontispiece to Flight's first linocut textbook, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing (1927). This print was impressed on the reverse of the sheet, the colours showing through the fine translucent paper. It is possibly one of the most significant British prints of the early 20th century.
Lot 276
A Chinese pale green jade two handled ting and cover 18th Century the squat rounded body carved in low relief with stylized bats and chi-lin dragon, the finely carved and pierced peony flowers and foliage handles supporting loose rings, the cover with archaic style raised flanges framing taotie masks, the finial with rounded foot, style final supported by chi-chi dragon style feet, 17cm across x 11cm high Provenance: Bought in the first half of last century by the present owner's grandparents
Lot 281
A Chinese green jade longevity figural group 18th/19th Century depicting a standing figure of Shou Lao holding a ruyi sceptre over his left shoulder, on his right side a youth stand holding a peach, 11cm high Provenance: Bought in the first half of last century by the present owner's grandparents
Lot 283
A Chinese carved dark grey and white mottled jade pebble 18th Century carved as a reclining water buffalo looking over left shoulder his herd boy spread across it's back while holding rope halter, 9cm across Provenance: Bought in the first half of last century by the present owner's grandparents
Lot 796
A Japanese Shinto Katana blade probably Muromachi period (16th Century) Koshirae Edo period (19th Century) Sugata [configuration]: o-suriage, koto katana, tori-zori, chu-kissaki . Hamon [tempering pattern]: suguha, some ashi, Nakago [tang]: two mekugi-ana, kurijiri, Habaki [collar]: copper,Koshirae [mounting]: the scabbard of aogai togidashi maki-e [mother-of-pearl sprinkled designs revealed by polishing] with lacquer kurikata [retaining hook], gilt menuki of dragons, a pierced iron tsuba with chrysanthemums and leaves, inlaid gilt details, signed Echizen ju Kinai saku, iron fuchi-kashira with dragonflies, 63.5 cm. (blade); 90.6 cm. long (koshirae). The maker of the tsuba is the first generation of Kinai lived in Echizen Province. He was born in Omi Province then moved to Fukui of Echizen Province. He was active in the early Edo period and the family is famous for Kinai-bori and had thrived through the Edo period. The early family name of the first generation was Ishikawa then changed to Takahashi. His family is also famous for Toshi-bori (horimono on the blade) Provenance: The Dolphyn Collection
Lot 10
Umayyad, dinar, 105h, rev., marginal legend reads bismillah duriba hadha al-dinar –inar (?) sanat khams wa mi’at, with pellet below letter b of duriba, 4.23g (Capernaum Hoard coin 105 (sic), same dies), minor graffiti on both sides and with some tooling above reverse field, additionally with rim knocks and traces of smoothing on edge, otherwise better than very fine overall and an exceedingly rare variety of this rare date. The three extra letters in the reverse margin on this specimen are remarkable. It seems highly unlikely that they could denote a mint-name, although Umayyad dinars with mint-names are known for this year, not only from al-Andalus and Ifriqiya but also with the Ma‘din Amir al-Mu’minin bi’l-Hijaz legend on the reverse. On the present coin both triple-letter groups appear to be identical; at first sight the middle letter of the second group looks as though it might be a mim rather than a nun, but this seems to have been caused by a spademark scuffing the coin at this point. It is difficult to suggest a plausible mint-name for Umayyad gold coins which is two letters long and ends with –r or –z; the letters YZ are found in the obverse margin of an issue of Arab-Sasanian drachms struck by ‘Abd al-Rahman b. Muhammad (where their presence significance has not been convincingly explained), but it seems exceedingly implausible that there could be any connection here. A far more convincing explanation for the presence of these extra letters is dittography: where a scribe or engraver accidentally repeats a letter or group of letters during copying. This kind of error is particularly likely to happen when the copyist cannot read or does not understand the text they are being asked to reproduce, and its presence on this coin strongly suggests that the engraver could not read the dies he was preparing. Because of this this extra ‘word,’ the die-engraver evidently found it difficult to fit the rest of the legend in the reverse margin. The letters of mi’at are compressed tightly together but there is nevertheless barely space for it before the b of bismillah. This further supports the view that the extra letters are unintentional, rather than the legend having been carefully spaced and laid out so as to accommodate them
Lot 108
Arab-Sasanian, ‘Ubaydallah b. Ziyad, drachms (2), BCRA (Basra) 59h, 60h, 4.04, 4.14g (SICA 1, 57ff, 66ff), first with some staining on reverse, otherwise good very fine and better; with Umayyad post-Reform dirhams (5), comprising Dimashq 82h, 86h, 108h, last with minor edge chip, otherwise generally very fine; al-Mubaraka 108h, pierced and clipped, fine; and Wasit 84h, heavily clipped but with clear mint and date, otherwise fine and scarce (7)
Lot 11
Umayyad, dirham, without mint-name, 79h, 2.41g (Klat 1, same dies), evenly clipped, about very fine and extremely rare. Although reformed gold dinars had been struck at Damascus since 77h, it appears that production of the related silver coinage did not begin until two years later. The westernmost of the early dirham mints, Damascus had no tradition of striking silver coinage - in contrast with most of the dirham mints in the eastern part of the Islamic world, most of which had previously issued Arab-Sasanian drachms. At Damascus, therefore, the obvious prototype for the first post-Reform dirhams will have been the associated mintless dinars then being struck there, rather than Arab-Sasanian types which almost always include both mint and date. This may explain why the very first of the new silver coins from Damascus - including the present coin - omit the mint-name, just as the gold dinars do. With more than forty other silver mints then active, however, the inconsistency of having mintless dirhams struck at Damascus alone must soon have become apparent, and the mint-name was quickly incorporated on all other silver struck there from 79h until the fall of the dynasty in 132h.
![Umayyad, dirham, Ifriqiya 134h, 2.74g (cf Lowick 267 [133h]; cf ICA 27, 10 December 2014, lot 178), light flan crack, very fi](https://cdn.globalauctionplatform.com/58ff3819-f3b6-400c-8616-a80100f06b89/4f0970d0-7873-42e5-9400-152d4c4c5807/468x382.jpg)
Lot 15
Umayyad, dirham, Ifriqiya 134h, 2.74g (cf Lowick 267 [133h]; cf ICA 27, 10 December 2014, lot 178), light flan crack, very fine to good very fine and extremely rare. Although struck two years after the Abbasids defeated the main line of the Umayyads in 132h, this coin follows the standard Umayyad pattern with the Surat al-Ikhlas on the reverse. It was struck by ‘Abd al-Rahman b. Habib al-Fihri, who had seized power in North Africa after expelling the Umayyad governor in the chaos caused by the death of the caliph Hisham in 126h. His successor Marwan II had little choice but to confirm ‘Abd al-Rahman as the new, officially appointed governor there, and he remained in post until the fall of the Umayyad and death of Marwan II in 132h. Like Marwan II, the new Abbasid caliph, al-Saffah, could do little more at first than confirm ‘Abd al-Rahman’s position. Soon, however, ‘Abd al-Rahman became more and more concerned by increasingly strident Abbasid demands for submission and switched his allegiance to the Umayyad cause, burning the robes of state sent by al-Saffah and inviting the surviving members of the Umayyad family to take refuge in North Africa. Thus it was that the caliph Hisham’s grandson, ‘Abd al-Rahman b. Mu’awiya b. Hisham, was able to cross from North Africa into Spain in 137h where he established the line of Spanish Umayyads in 138h. Abd al-Rahman b. Habib al-Fihri was murdered in 137h by his brother Ilyas who, allegedly spurred on by his wife, stabbed him in the back - literally, and indeed metaphorically.
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596772 item(s)/page